You are currently browsing the category archive for the ‘instrumental’ category.
” The heavy metal record label Prosthetic Records saw (eight-string) gutiarist of Reflux, Tobin Abasi’s guitar work and asked him to create a solo album for them. Abasi initially declined, feeling such an endeavor would be “egotistical and unnecessary”. When Reflux disbanded, Abasi decided to take the label’s offer. The name Animals as Leaders was inspired by Daniel Quinn’s 1992 novel Ishmael, which addresses anthropocentrism. Abasi coined the name as a reminder “that we’re all essentially animals”.
The project’s first album, Animals as Leaders, was recorded in early 2008. Abasi recorded all guitar and bass tracks on the album; drums and various synthesized effects were programmed by engineer Misha Mansoor. The album was released April 28, 2009 by Prosthetic Records. ”
Do Make Say Think is a Canadian instrumental post-rock band from Toronto, Ontario. Their music combines jazz style drums and space style electronic effects, distorted guitars and wind instruments as well as a prominent use of the bass guitar.
“The sixth full-length from Do Make Say Think defiantly features four long-form tracks, three of which clock in at over 10 minutes, and all of which trace the inimitable musical arcs that have made this band justly celebrated for their unique sonic palette and vibrant distillation of compositional forms and influences into some of the past decade’s most consistently rich and rewarding instrumental rock.
Bucking the trend towards diminishing attention spans, immediate gratification, snappy digital singles and things that go ‘pop’ right out of the gate, DMST admirably stick to their roots and allow the vines that spring from their fertile musical garden to wind, curl and climb for as long as required. More than ever, the players keep their heads down, creating wonderful multi-movement instrumental works (with the occasional mantric or wordless vocal passage, courtesy guest singers The Akron Family and Lullabye Arkestra), overflowing with attention to tone and timbre, animated by unfussy yet ornate harmony, melody and polyrhythm, shot through with ineffable soul. The four songs on Other Truths are vintage Do Make Say Think, and the album represents the first time since the band’s debut (recorded over a dozen years ago) that they have found themselves with an entire collection of songs that unfold so organically over long duration. As testament to the unfettered evolution of these tunes, the band has titled them simply “Do”, “Make”, “Say” and “Think”.
Do Make Say Think has always managed to gather, balance and synthesise various poles simultaneously – ragged/precise, dirty/clean, atmospheric/ stratospheric – forging sonic narratives that combine broad strokes and clusters of detail. Perhaps more than their overtly ‘post-modern’ commingling of various musical genres (psych, jazz, dub, folk) this less conspicuous, indefinable ability to maintain such a consistently enthralling fusion of instincts is the true mark of the band, yielding a music that sounds and feels so unforced, natural and human. ”
middle eastern, flamenco, gypsy, fingerpicking, instrumental, experimental
“Richard Bishop was a founding member (along with brother Alan) of Ethnic-Improv pioneers and DIY tricksters Sun City Girls, who during their 26-year reign had over 50 full length albums, plus over 20 one-hour cassettes and a dozen 7” records. That being said, Richard has spent more than a quarter century perplexing, amazing, and alienating audiences exactly as planned. In early 2005, Richard (as Sir Richard Bishop) began extensive touring as a solo artist, performing throughout Europe, Australia, and the United States. Though the good Sir is known mostly for his acoustic playing, he has been using electric guitars in his most recent solo performances. Sir Richard’s guitar explorations often reflect the shadow worlds of India, North Africa and the Middle East, and other points along the Gypsy trail, though many strange and experimental forms have crept into the live shows as of late.”
“Bishop’s latest record, The Freak of Araby, was released by Drag City in 2009. This one features 5 original pieces and 5 traditional Middle Eastern songs all with electric guitar, bass and percussion.” – his myspace
mathy instrumental rock / life-affirming prog guitar anthems
riyl : Tera Melos, maps&atlases, SoManyDynamos
“A triumphant, heavily riffed, primarily instrumental epic, whiplashing through six minutes of smiling prog jams, and as many tempos as passages, before settling into one last minute of uplifting chants.” -Stereogum.com
“On their self-titled debut full-length, Fang Island’s three part guitar harmonies, pounding bass lines, tight-as-hell drumming, and joyous choral vocals, create epic and triumphant gatherings of sound.
“thematic instrumental rock
…epic builds and extra layers of instrumentation
any progressive rock band with synths” -theneedledrop, context-less quote snippets/adjective plunder
Zombi is a space rock duo from Pittsburgh, Pennsylvania, consisting of Steve Moore on bass and synthesizers and Anthony Paterra on drums. The group makes use of looping to create multi-layered compositions. They have toured with Don Caballero, Isis, Orthrelm, The Psychic Paramount, Daughters, Red Sparowes, These Arms Are Snakes and Trans Am.
“Maserati’s reputation varies depending on who you ask: They are either one of dance music’s most viscerally addictive live performers, or underground rock’s most ingenious hybrid of U2’s guitar heroics, Pink Floyd’s arena-ready psych rock, and Daft Punk’s head-slamming, club-burning rhythms.”
“On first listen, we assumed Phaseone was ensconced in L.A.’s hyper muggy beatfreak scene with dudes like Nosaj Thing, The Gaslamp Killer and Flying Lotus. But he’s actually from St. Louis, sharing little with those guys but a proclivity to making music that sounds like gumball asteroids falling from the sky. Lefse Records, the upstart imprint whose free compilation we shared a few weeks ago, is giving away his debut album Thanks But No Thanks; we’re passing it on because we think it’s excellent. You know those time lapse shots in Planet Earth where fungus grows out of stuff in a disturbingly beautiful way? This is like that happening in your head for forty minutes.” – rcrdlbl.com
Styles: instrumental rock, video game-ish prog rock
“Content Imagination remains charming because most comparable instrumental music is presented either through a compressed, metallic sheen or the prism of video game music. And while What’s Up? are undeniably indebted to 8-bit compositions that came before them, it’s nice to hear an aesthetically-minded band grab the torch. With rock drums and distorted keyboards, they cast off the trappings of chiptune bands — namely nostalgia — and let each song sink or swim based on its own internal logic. Removed from the culture surrounding their music, What’s Up? simply know their way around a melody and how to present it in a relevant way, which counts for a lot these days.” -tinymixtapes.com
riyl: Adventure, Hella, Anamanaguchi, Truckasaurus, The Advantage, gdfx
u guys wanna get high and listen to a sick tribal drumming group from baltimore? this is a recent question i find hard to say no to… i’ve been hooked on these guys for a ‘go-to’, trance-out, herbally-enhanced jamband ever since i saw them open for dan deacon… i was determined to crack into this bands’ genius, and knew it would be equally heady/psychedelic/revolutionary since they were dan deacons’ supporting ensemble/tourmates… anyways, it rules and has infinite replay value… they remind me of yeasayer -vocals, +drone… sort of eastern swirly psych-grooves that shake and shift and mutate to the collective’s improvisational whims… it has the power to mesmerize/sedate/hypnotize… perfect for reading/dreaming/beinghi/replacingsilence/…
” You’ve heard this one before: A group of young (and more than likely college-educated) white people get together, pile instruments in a heap, and share a one-track mind to home, sweet, Om. Teeth Mountain’s mixed-bag lineup doesn’t re-invent the drum circle, but its members–listed as Andrew Burt, Andrew Bernstein, Greg Fox, Greg St. Pierre, Max Eisenberg, Max Eilbacher, Kate Levitt, Grace Bedwell, and Owen Gardner here, not all of whom played on the recording–do it with a sincere appreciation for the woollier end of late-’60s radicalism. Think long-robed cults coming for your children…
…this LP bristles with the meandering abandon of fretful discovery… Teeth Mountain navigates a rhythmic journey through steady-pounding floor toms, space-travel cello drones, and some cosmic-dust dashes of guitars or woodwinds or noisemakers or some other hand-powered sound source. “Black Jerusalem” and “Keinsein” vibrate with reeds ghosts and goblins floating through the background, while “Soft Beast” sounds inspired from any moment off that levitating Velvet Underground bootleg 1966, the one that’s nothing but two side-long instrumental slabs…
…the ‘doing it because it feels good right now’ vibe may be what makes Teeth Mountain such a woozy intoxicant. This is the sort of music that makes people reach for words such as “tribal,” “primitive,” and whatever so-called “exotic” world music is in fashion that hour, but Teeth Mountain couldn’t be more urban and Western if it was making hip-hop. Amorphous, wordless instrumental stew is the basic stock for group disquietude. And while the Baltimore zeitgeist right now may have not formally organized Ausser-Parlamentarische Opposition arm just yet– something about Teeth Mountain’s out-of-body aspirations reek of shared disillusionment, and once the many brains camping out on this mountain begin to see where they want to take their mettle, once they decide to trade the skinny jeans for the leather jacket and start designing guerrilla insignias, watch out. ” -BaltimoreCityPaper